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Thursday, May 29, 2014

A multi-plate design with warm to cool lighting and a dark reflective floor.

This concept had a big U&A behind the studio name out in front with blur FX added in.

For this alt on the above design I relocated the type top and bottom to sandwich the big Icon in the middle. I also extruded it at 10 fold to make it a big metal block for AV animations to have a big side surface for film clip projection onto 3D[ big in 07'].

I did a few version using Chaplins cane and shadow, here, here, here, and here, always with a variety of fonts to see the final in.

For this concept the type in in the corner with the lower "Artists" turned 90 degrees. The theory is a fun AV move with the text not typically flat. Same idea here.

Did a few looks that played on the old 50's logo in the bar as seen in these warm lit multi plate metal version for United Artists.

Amber glass and gold plates were used in this comp along with reflective and refractive caustics all over the holding device.

A deep extrusion with a spin effect generated from the logo spin for this concept[ AV]

I liked the music bars, and used them before. This 3D title design would be fun to animate.

This is my third posting for the 3D logo design work I helped out on when I was in-house at The Cimarron Group back in 2007 as a pitch to gain more business from an existing client we had there.

We would regularly take a stab at a new logo design for a client to try and gain more business, so with this project the owner had every design division, MGFX, DE, HE, Corp, and 3D all do some
ideas for the big pitch to United Artists to develop a new look to the
film company logo.

The exercise was a great design challenge, that
allowed me to review the history and purpose of the studio, as well as
take it into a direction for the future. I also was given room to pick fonts and create the look I felt would work.

Though
we did not use these, or even present most of them , it certainly was something
that I got to thrown my own skills at and was able to hone my skills and design chops.

Friday, May 23, 2014

Here is the final Key Art for Penny Dreadful using the 3D Scorpion Illustration I was hired to do.

The test image I did.

The final 3D RAW delivery was a multi-pass render with a Matte for the shandow to be dropped into the Key Art Photography quickly by finisher Paho Marsh.

I did a transluscent Sub-Surface Scatter render of the Scorpions as they have many areas that posses this trait in the material as a pass. I rendered over the placeholder bust as the skin showed thru the Scorpion bodies.

Here for the Dark black render I did not need the shadows or the bust so I rendered this out as the second pass.

The Matte Shadow provided the finisher with a drop on shadow for the photography to blend it seamlessly into the file.

A Z-Depth pass on the second pass allowed for adjusting Hue, Saturation or blur based on distance quickly with this channel provided as well to the vendor.

This ambient Screen grab render shows the base model and scene as built, as well as the Image I was tasked with matching up to.

The 3/4 shot show the full scene including the bust for placement and shadows as well as the lighting and simplicity of a scene with over 6000 separate parts all linked so I could post each Scorpion individually to match the location it rested upon.

A side-by-side shot of the Base Scorpion model as the base Quad model on the Left, as well as subdivided on the right.

Back in December I was given an opportunity to help out with Showtimes new cable series Penny Dreadful on the Key Art for one of my clients Leroy and Rose. I was asked to assit in 3D with the creation of a Lace-Necklace made out of small black Scorpions as a Virtual Photo shoot.

I did a test image to show the look and proceeded to create two version of the necklace design. I had built out a 3D Scorpion a decade ago for Scorpion King, not as a quad model, so sometime last year I rebuilt a new one all in subdivision for a potential Vodka client in Belgium that fell thru so I had it ready to go for this gig.

I developed the Sub-surface shader as the translucence found in scorpions would help blend this into the skin on the bust you would see thru in the thinner parts of the legs etc.

Once approved I proceeded to render the finals out in multiple passes with light and dark materials to paint thru, as well as a Matte shadow to drop right over the principal photography.

This is my fourth posting for the 3D design work that I
did for the film, SALT in the winter of 2008 while still running the 3D
Department at Cimarron, and for today I have more 3D logos to explore as I did over 100 for the assignment.

There were three main
Art Directors I did work for in the Poster Design department there,
and today these are all from Art Director, Chris A. Hawkins.

As SALT was a Russian Spy they wanted a liberal use of red in the designs. Steel and metals and blood rends were all good for the look as seen in my prior posts so I varied the application to the various vector files I was given.

Total
Logo count that I provided to them was, One-hundred fifty-five[ 155]
designs, though they presented maybe five to the client at the end, I
always love the process so I understand the drastic cuts needed.

New
designers take note, that 5 out of 155 is the norm for a firm to cut
down your delivery to, so enjoy the process even if they never use it, your skills will grow and grow the more you do.

I ran the small 3D Department at The Cimarron Group from October 2003 to 2009, and I provided 3D
services from Design, Modeling, Illustration and Animation to the many
internal divisions within Cimarron.

We also had a traditional
Advertising Division that retained Universal Studios Hollywood as a regular client since before I started there, and they put me to good use using my 3D skills on various projects.

I was asked to assist in that years drive for yearly passes using the Jurassic Park ride as the vehicle.

They had artwork from the client of the T-Rex that needed to have the gate and the ride boat added so they could fill it worth photography of the park guests inside the vehicle, so I proceeded to build virtual copies of the ride vehicle as well as the gate in 3D to add these as 3D Illustrations to the final artwork.

The final went to finish as is still used in some places in the park today a decade later.

BabelFish Universal Translator Widget

About Me

Trained in Transportation Design at Pasadena’s Art Center College of Design, I have worked for the past 24 years in every facet of Entertainment Design as Conceptual Designer, up to Design Director. I am currently running my design studio full time out of my home in Littleton, CO.
In the past, I have orchestrated teams as large as 100 on an international level , and as small as a few artists. Art Center gave me the formal training in Industrial Design via sketching and modeling to execute my designs.
The variety within the Entertainment Industry that I have been involved with includes: Television Commercial Set Design, 2D Animation Television Series, Restaurant Design and Illustration, Real Time 3D Interactive Gaming, Online 3D Web interface, CD ROM Magazine Design, Theme Park Attraction Design, and finally ending up in Entertainment based Advertising for Theatrical Films.
I have experience starting up both 2D, and 3D design departments, as well as moving into existing studio infrastructures of operation and working within established systems already in place.